“Alexander’s Feast,” by John Dryden, describes the celebration thrown by the great Greek warrior, Alexander the Great (son of Philip of Macedon) after Alexander had defeated the Persians in battle in 331 B.C.E.  The poem opens by referring to this victory and by describing how

The godlike here sate [that is, sat]

On his imperial throne  (4-5)

He was surrounded by his captains, who were decorated with “roses and myrtles” (7) as “The lovely Thais,” his Greek mistress, sat “by his side” (9). Repeated lines celebrate the happiness and bravery of the persons thus far depicted (12-19).

A poet and musician named Timotheus, accompanied by a choir and strumming a lyre, sings a song telling the myth of how Jove, the king of the gods, came down to earth and, disguised as a serpent, impregnated Alexander’s mother, so that Alexander was supposedly of partly divine parentage. The people at the feast celebrate Alexander’s divinity, and Alexander nods and thereby (like Jove) seems to produce powerful cosmic effects (20-46).

Timotheus next celebrates Bacchus, the god of wine, as if Bacchus were actually present at the feast:

Bacchus, ever fair and young,

Drinking joys did first ordain:

Bacchus’ blessings are a treasure;

Drinking is the soldier’s pleasure . . . (54-57)

The praise of Bacchus is then repeated, especially since “Sweet is pleasure after pain” (65).

Subsequent sections of the poem describe how Alexander becomes passionate when thinking about his victory (66-72) and how Timotheus manages to soothe Alexander’s proud passions by literally changing his own tune and mournfully describing the death of the Persian king (Darius) whom Alexander had defeated (69-83). Alexander is moved by this lament and contemplates the mutability of earthly existence (84-92).

Timotheus next inspires thoughts of love in Alexander, who has become drowsy from drinking (92-122). Timotheus therefore uses music to awaken the king and now inspires in him thoughts of vengeance on the Persians for having killed so many Greeks (123-54).

The poem ends by extolling the power of Timotheus’s music and of poetry as well (155-60). Eventually Saint Cecilia, the patron saint of musicians, invented the organ, thereby excelling the power displayed even by Timotheus (161-80):

He [that is, Timotheus] raised a mortal to the skies;

She drew an angel down. (169-70)

This poem is one of the most famous celebrations of music in the English language.

Alexander’s Feast: Or, The Power of Music, an Ode in Honor of St. Cecilia’s Day is

Dryden’s second ode honoring Saint Cecilia, the patron saint of music. The poem’s

theme, the power of music to move human emotions, is identical with that of “A Song for

St. Cecilia’s Day,” written a decade earlier. Both odes are occasional, having been

composed at the invitation of the London Musical Society. The second ode, however, is

much more elaborate, for Dryden introduces characters and places them within a

dramatic setting. The Greeks are celebrating their victory over the Persian King Darius

when the musician at the banquet, Timotheus, is called upon to perform.

With exalted strains, Timotheus creates within Alexander the Great a sense that he has

become a deity. An alteration of tone changes his mood to a desire for pleasure, and

following this a longing for love of his mistress Thaïs, who sits beside him. Somber

strains evoke pity for the fallen Darius, but these are followed by strident tones calling

for revenge on behalf of Greek soldiers who have perished. Alexander and his mistress

and their company rush out, torches in hand, to burn the Persian city Persepolis. The

poem concludes with a grand chorus, stressing the power of music to move emotions

and contrasting the legend of Saint Cecilia with the power of Timotheus. Dryden recalls

the story that after she had invented the organ, she played such beautiful music that an

angel, mistaking the sounds for those of heaven, appeared as she played:

Let old Timotheus yield the prize,Or both divide the crown:He rais’d a mortal to the

skies;She drew an angel down.

The intricate form resembles the Pindaric ode in its lengthy and complicated irregular

stanzas, yet its linear organization follows the tradition of Horace. Dryden achieves a

complex, forceful, and energetic movement, and his use of historical events and

characters contributes to a lively, dramatic expression of his theme.

The theme of Dryden’s “Alexander’s Feast” is a lofty one which shows the power of music to modify the thoughts and feelings of man.  The poem is an ode which in the ancient days was intended to be sung, but now means a rhymed lyric in the form of an address, generally dignified or exalted in subject, feeling and style.  The poem is not a creation with regularity in the metre and arrangement of lines.  The poem can, therefore, be classified as an irregular ode.

As the theme of the poem is developed in a lyric way, the development is not essentially logical.  But a poem is different from a mathematical problem, for the latter appeals to reasoning while the former appeals to imagination and emotions. Judged in this way, “Alexander’s Feast” is one of the biggest feathers in Dryden’s cap.  He has skillfully dramatized a situation, namely a banquet, in Alexander’s life, presented his pride, his infatuation and finally his impetuous deed of setting fire to

Persepolis.

The poem begins with a description of Alexander the Great sitting on his throne flanked by his peers as brave as himself.  Seated by his side is Thais an Athenian woman dowered with marvelous beauty.  The opening stanza is concluded with the poet’s comment that only the brave deserves the fair.

The next stanza of the poem introduces Timotheus, the court singer, who is the main character of the ode.  Though the title refers to Alexander, he cannot be rightly considered the hero of the poem.  Dryden himself calls Timotheus the Master, for with his music he is capable of dominating even the powerful emperor. He sings of Alexander’s supposed divine descent and instills pride in the conqueror.  In his songs he refers to Jove, who disguised as a dragon descended to earth and made love to Olympia, the result of which was Alexander.  Alexander immediately puts on the airs of a god and condescends to receive the applause of his courtiers.  When the wine is circulated, Timotheus sings in praise of Bacchus, the god of wine.  He extols in his song the pleasure of drink after pain in the battlefield.  The king and his courtiers are thus tempted to drink until their brains get fuddled.

Finding Alexander puffed with pride, Timotheus changes the tone of his song.  He sings of fallen Darius, deserted by his men.  This makes Alexander reflects upon the vicissitudes of human life on earth.  He feels pity on Darius, his vanquished foe. A pall of gloom descends on the scene until Timotheus switches over to the emotion of love.  Life is worth enjoying: and love is a means of enjoyment.  Smitten by love, Alexander falls upon the breast of the false Thais.  The conqueror of Persia lies vanquished, not by love, but by music.

Timotheus now strikes a thunderous note evoking the feeling of revenge in Alexander.  He sings of the Greek warriors slain in the battle, and their ghosts seems to urge Alexander to avenge their death.  Led by Thais, Alexander seizes a torch and sets fire to the city of Persepolis.

The concluding stanza of the poem emphasizes the powerful role of Timotheus. Timotheus has controlled the soul of Alexander by merely striking on his lyre.  He lived even before St.Cecilia who is regarded as the patroness of Music.  Yet we cannot reckon to miss with her role in the field of music.  It was she who enlarged the scope of music and gave it a wider meaning.  While Timotheus raised a mortal—Alexander—to heaven with music, she bought an angel down with her song.

Newman criticized this poem for lacking the “right moral feeling” while exalting revelry.  But he is unjust to Dryden because we find that the theme of the is the power of the music.  With a lavish use of imagery, the poet has intensified the lyrical quality of the ode.  The description of the conqueror of Persia, his valiant

peers, of his paramour Thais, and his fallen foe Darius are all eloquent examples of the poet’s deft use of imagery.  The subtle suggestions in the poem also add to its charm.  For instance, nowhere does the poet say openly that Thais was a woman of dubious reputation.  But we are told that she “caused him care” and that he was not able to conceal his pain.

The poem when read aloud is musical.  The theme—the power of music—is intensified by its musical tone.  Small wonder Cazamian calls it “a still somewhat too clever masterpiece in imitative harmony”.